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| 07|10|2006 |
By Dan DaleyNobody's getting more from their money than the makers of films in the burgeoning Christian cinema segment. Audio post specialist Nick Palladino tells us how The Second Chance broke new ground in budget audio.... »
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| 06|22|2006 |
By Bryant FrazerRainmaker in Vancouver had to put a phony face on a live bulldog and have the results look photoreal. The team used Newtek LightWave 3D 8.5, Eyeon Fusion 4, Worley Laboratories Sasquatch and Fprime, Iridas Framecycler and 2d3 Boujou 3.... »
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| 06|05|2006 |
By Bryant FrazerDave Satin on developing HDV workflows for reality TV, why film prints are still important to digital cinema, and working for Michael Mann... »
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| 06|05|2006 |
By Dan DaleyMathew Waters has declared himself something of a maverick by using Steinberg’s Nuendo audio workstation software in a town where Digidesign’s Pro Tools has come to rule the roost. It’s a decision that allows him flexibility on films like director Victor Salva’s Peaceful Warrior... »
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| 05|29|2006 |
Interviews by Bryant FrazerEnamored of the super-compressed output from a Sony DSC-T1 digital still camera, director Jason Reitman blew it up to 35mm for Thank You For Smoking. We asked (via email) why he did it, and how his editors handled the task.... »
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| 05|16|2006 |
By Barbara RobertsonNot-blue blue-screen work, state-of-the-art fluid simulation and rigid-body simulation, and a boatload of digital stuntpeople help make a disaster to remember.... »
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| 05|09|2006 |
By Barbara RobertsonHow do you (quickly) fill a stadium with 3500 people — while letting the director shoot with a moving camera, from any angle — without busting a low budget?... »
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| 05|01|2006 |
By Debra KaufmanThanks to Moore’s Law, creating truly photoreal imagery isn’t as daunting a feat as it used to be, and Stargate’s virtual backlot is becoming a staple in Hollywood television shows. ... »
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| 04|12|2006 |
By Matt ArmstrongDirecting duo of Kyle Shoup and Scott Fredette discuss concept and execution, ncluding shooting with the Varicam in 60fps, on this short film for "Summer Skin," one of the tracks on the new Death Cab for Cutie album "Plans." ... »
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| 04|03|2006 |
By Barbara Robertson“We had to do the movie in half the time,” says director Carlos Saldanha.... »
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| 03|01|2006 |
By Michael GrotticelliArt Donahue, a veteran field producer and photographer at WCVB-TV, the ABC affiliate in Boston, is well known throughout the New England production community for his 18 years of documentary-style TV reporting... »
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| 03|01|2006 |
By Bryant FrazerZene Baker started building indie cred early in his career, when he hooked up with the young writer/director David Gordon Green on his debut feature, George Washington.... »
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| 03|01|2006 |
By Bryant FrazerIndies are using NLEs like Final Cut Pro and Avid Xpress Pro because they’re cost-effective – and when filmmakers are strapped for cash, they start working even more creatively with the tools available to them. ... »
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| 03|01|2006 |
By Thomas JamiesonKettle of Fish went through a DI on the PC, saving the filmmakers thousands of dollars.Producer and co-founder Mark Pederson and his team are disproving the
idea that digital intermediate finishing is an exclusive and expensive
art.... »
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| 02|14|2006 |
By Debra KaufmanThe MTV show My Own, which debuted last month, is an unusual hybrid of reality and dating show with a streak of karaoke. Much like the show, the production and post workflow is also a hybrid of disciplines.... »
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